You need only a small number of tools (many of which can be home­made) to create a wide variety of patterns in texture paint. The nine designs shown here can serve only as a guide to the whole range of finishes you can achieve. Practise your own patterns on a small piece of plasterboard before you start on the larger projects like walls and ceilings

A: Use a hard rubber roller wrapped with some rubber bands to create this unusual tree-bark effect

B: Dab the end of a paintbrush into the paint before it sets to create a light overall stipple

C: Use a small flexible filling knife to 'butter' the texture paint surface

D: Make these large, regular swirls by using a large, long-bristled distemper brush in short arcs

E: Use a smaller brush to make a more condensed matching version of D

F: Draw a toothed comb across the surface to create overlapping straight lines

G: Run over the freshly applied paint with a synthetic paint roller to form a heavy stipple

H: Move the comb in short overlapping arcs to create shell shapes

I: Use the comb again in large radius curves for a basket weave effect

Texture painting involves brushing a thick compound on to a wall or ceiling and then rippling the surface with a special tool to the pattern of your choice. This form of decoration was very popular in the 1920's and 30's in cinemas, restaurants and private homes and is now enjoying a decorative revival. It has the advantage that you can use it on both internal and external walls, to improve the look of plain surfaces as well as filling small cracks and faults.

Another positive benefit is that it is cheap .and easy to apply to a widely variety of different surfaces. For instance, you can coat plasterboard, wallboard and ceilings with texture paint. This should be cheaper than plastering all over, and better looking than dry lining (where you fill just the joints),. The technique can also be carried out on many types of building board such as chipboard (particleboard), hardboard and asbestos cement.However, bear in mind that texture paints become semi-permanent when fully hardened, and that removing them is often difficult and may damage the underlying surface. So make sure, whether texture paint is the finish you require before decorating.

[edit] Types of texture paint

Texture paints come in a number of different types. Some are more suitable for external application while others (which are easier to texture) must be used indoors. Make sure that you choose the right paint for the job, since each type is applied in a different ways and will give a different finish on each of the different surfaces. You can buy texture paint in two forms; One is ready mixed to a predetermined consistency in 2.5 and 5 litre containers. The second (a more traditional material) is supplied in dry powder form in large 25kg bags and is mixed with water. Mixed to a thick consistency, this can also be used as a filler. Coverage will vary from surface to surface, a rough plaster wall will need more paint than a-smooth, non-porous finish.

[edit] Exterior finishes

You can apply texture paint to a wide variety of exterior surfaces, such as concrete, cement rendering, brick, plasterboard, asbestos cement panels and plaster, where the dense finish will help to cover small cracks and discoloured backgrounds. Most exterior grade texture paints have a ready built in fungicide which resists the growth of mould and you can apply them with a brush, synthetic roller, trowel or spray gun. Before you start painting, clean all the surfaces thoroughly and remove any grease by washing them down with detergent. Any loose paint and dust should be removed with a wire brush and if there is any sign of mould on the walls, make sure that this is treated with a fungicide. All large cracks or splits need to be raked out and made good. Also, this is a good time to repair all defective gutters, downpipes, and brickwork.

Exterior texture paint is usually supplied ready for use and needs only to be stirred before you apply it. One coat should be adequate since this type of paint contains its own primer. Work from the top of the house downwards and when you have finished, clean all of the equipment with water as the paint is difficult to remove once it has completely hardened. Leave the paint for at least 24 hours to dry. It may appear to be dry on the surface after only two or three hours but do not be deceived by this. Texturing (see below) should take place be­fore the material has dried so make sure that you have all the necessary equipment to hand.

[edit] Preparing interior surfaces

It is well worth taking extra care when you are texture painting inside the house, since a good finish is particularly important. Meticulously preparing surfaces before you paint is time well spent and may prevent long term problems such as splits and cracks in the drying paint. Texture paint can be used on nearly all internal surfaces but it is worth ensuring that all the boards to be painted are firmly fixed and do not move. Cover badly surfaced walls with plasterboard or plywood. Before painting make sure that walls and ceilings are dry and that any dust or loose material is removed.

Bare board surfaces: Prime these with a suitable sealer and fill any gaps between joints with a creamy mixture of the paint compound. Make sure that this is applied to either side of the joint using a large, flexible filling knife or a caulking blade, then apply a length of joint tape (available from hardware merchants) onto the coating using the blade of the knife. This will prevent any movement between the boards which might crack the finished textured surface. Finally, apply another coat of the mixture over the joint tape in a wide band, feathering it away to nothing at the edges. When dry, the surface will be ready for the decorative texturing.

Paint and emulsion: Remove any dirt and grease and scrape off flaking paint until you reach a firm edge. Fill holes and cracks with a thick mixture of the texture compound and sand this down thoroughly when it is dry.

Soft distemper: Scrape off any loose areas of paint, wash the surface well, then apply a coat of suitable sealer.Make sure that the wall is smooth, and free of dust and flaking particles which could contaminate the new paint.

Wallpaper: Even though your existing wallpaper appears to be securely fixed, it should be removed, as it may come loose after some time taking a great deal of the texture paint with it. Scrape off all the paper using a stripping knife, then seal any bare plaster underneath.

[edit] Applying the paint

Apply the paint to the surface thick enough to allow for some depth of patterning, using a 200mm distemper brush, roller, or spray gun. Apply it with a long, stroking action, working from top to bottom in the case of a wall. Be careful not to paint too large an area in one go or you may find that the paint has dried before you have a chance to texture it properly.Make sure that your texturing equip­ment is ready to use before the surface dries and remember that this type of paint will ruin brushes and tools if left to harden.

[edit] Texturing techniques

It is a good idea to practise the various texturing techniques on a spare piece of board before you start decorating in earnest. Indeed, many original textures can be achieved by experimentation, using very simple pieces of equipment. The easiest method is to load a long pile roller with the paint and apply it to the surface evenly in short strokes. Follow a set plan working from the edges and never go back over finished work, which could result in a different texture because the earlier coat has partially dried.

Ashlar:

This effect gives the appearance of stone, bricks or blocks with mortar joints,for display purposes we have chosen blocks (If you wish a stone appearance draw lines in free hand). Before you paint it, divide the edge of the area to be textured into brick or block widths and mark these clearly (fig. A below)Then texture the surface in a stipple finish, taking care not to obscure the marks.While the paint is still wet, hold a wooden straightedge against the marks with small blocks at each end to stop it touching the surface (fig. B below). Draw a thin piece of wood through the wet coating to produce the joint effect horizontally and vertically (fig. C below), then, when the material is dry, remove any high points with a sanding block.

A. To create an ashlar effect, first divide up the edge of the area into brick or block widths

B. While the compound is still wet, carefully mark the horizontal joints using a straightedge

C. Finally, mark the vertical joints in the compound to give the full brick or block effect

Use a round edged piece of wood to mark the joints when creating the ashlar effect

Tree bark effect:

For this you need a hard rubber or wooden roller in as wide a size as you can get. Cover this with rubber bands arranged so that they criss-cross one another (fig. D below). After you have applied the paint, wet the roller slightly and roll it lightly over the surface until the whole area is textured, making sure that you do not go over any areas twice. When set, scrape the surface to remove any sharp high points (fig. 2 below).

D. How to criss-crossed the rubber bands

1: Different sized rubber bands can be added to the roller to achieve a deeper patterning effects.

2: Draw a piece of plastic across the surface of a deep texture before it dries to remove any high or sharp edges.

[edit] Old plaster effect:

Load the brush with paint and apply it to the surface with a sweeping action, brushing in all directions. Occasionally, press down on the side and heel of the brush so that the paint spreads out over the surface. This movement, coupled with a twist of the wrist in places should give the desired effect. Instead of using a brush you can produce a similar, though coarser, effect by applying the coat with a large filling knife or spatula and pressing down on one side to form soft, wedge shapes in the surface (figs C, D and E Above).

High relief motifs: You can produce simple designs which stand proud of the surface by anything up 10mm, using stencils and a very thick mixture of the texture compound. Cut each stencil from thick card, hardboard or wood then grease the inside edges and fix it to the surface to be coated with steel pins. Apply the texture paint to the stencil as you would plaster to a mould. As it dries it will shrink and allow you to remove the stencil, leaving the motif in high relief.

[edit] Stippled texture:

3: A stipple texture can be achieved by applying the compound with a brush, then dabbing the wet surface gently with the stipples

4: You can also get a stipple finish by applying the compound with a synthetic roller and working vigorously from side to side

This is perhaps the most popular texture and can produce striking results. It is created using a sponge or the bristle tips of a wallpaper brush, both are available from most hardware stores. When you have applied the paint, dab the stippler against the wet surface with an irregular action to avoid straight lines (fig. 3). Again, never go back over previously textured areas.To avoid the sharp points produced by this type of texturing, especially on wall areas, draw a piece of plastic sheet lightly across the surface before it hardens (a process known as lacing) to flatten the stipples. You can remove any high points left when the coating has dried with a piece of fine glasspaper on a flat block. Removing these is not just for decorative effect, since the edges can be very hard and sharp when fully dry.

[edit] Swirl effect:

Fig 5

To make this, start by painting and stippling the surface as above then hold the stippler against the surface and twist it in a clockwise direction (fig. 5).

The swirl formed by each twist should overlap the previous one to give an overall, random effect. You can also create a swirl effect using circular sweeps of a distemper brush, to give a delicate pattern.

[edit] Comb patterns

Several different effects can be produced by drawing notched blades or combs through the wet coating. Make these yourself from sheets of plastic, metal or hardboard, cut to the pattern of your choice (right). Using a simple notched comb with 2-5mm gaps between 'teeth', popular effects are:

Criss-cross: Draw the notched comb through the wet surface and super impose one set of straight lines on another, trying constantly to vary their direction and angle. The size and design of the comb largely determine the final texture and can be modified to add a touch of individuality to the finished pattern.

Basket: This is made by pushing the comb in a gentle curve, so that each stroke cuts over the preceding one at an angle. Carry on in this fashion until the whole area is covered. The length of the strokes governs the size of the pattern: try beforehand to decide what length of stroke you are going to use and keep to this throughout the decorating session.

Fan: The fan or circle, is the most difficult of the comb patterns so make sure that you are able to use the comb really well by practising on scrap material before you attempt it.

The pattern consists of rows of semi­circles which overlap and bite into one another. To make some of these, pivot one end of the comb in the wet paint and draw a semi-circle. Continue along in as straight a line as possible, drawing more semi-circles until you reach the end of the row.

When you start on the row below, try to make the semi-circles cut into the gaps where those of the previous row meet. Continue in this way until the whole area is covered. The very similar shell pattern is made of shapes slightly larger than a semi-circle.

Here's Some More Examples

6 A swirl effect can be made by first stippling the surface, then carefully painting a number of over lapping circles on to it

7 A variety of comb effects can be created by gently drawing a notched blade across the surface of the compound

8 A patchwork pattern is made by combing alternate lines at right-angles to one another across the face of the wall

9 By pushing the edge of a caulking blade into the material, a wide variety of fan and circle patterns can be created

10 Wash all tools thoroughly as soon as you have finished, since texture compound is difficult to remove once it dries